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Pieter Bruegel and the Art of Laughter - AAAARG.ORG

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chapter six<br />

<strong>the</strong> devil’s nemesis:<br />

griet <strong>and</strong> her sisters<br />

=ã<br />

And <strong>the</strong>re is no anger above <strong>the</strong> anger <strong>of</strong> a woman. It will be more agreeable<br />

to abide with a lion <strong>and</strong> a dragon, than to dwell with a wicked woman.<br />

ecclesiasticus 25:23<br />

But honorable women should<br />

Forgive me what I say, I would<br />

Not wish to injure <strong>the</strong>ir good name.<br />

sebastian brant<br />

Taking proverbs literally was a favorite source <strong>of</strong> laughter in <strong>Bruegel</strong>’s century,<br />

as we have seen, <strong>and</strong> <strong>Bruegel</strong> habitually exploited <strong>the</strong> visualization<br />

<strong>of</strong> common expressions <strong>and</strong> sayings for humorous eªect. Perhaps his most<br />

bizarre eªort occurs in a painting he executed some years before <strong>the</strong> two<br />

scenes <strong>of</strong> peasant revels in Vienna. This is <strong>the</strong> Dulle Griet (Fig. 70), in which<br />

an army <strong>of</strong> housewives (to judge from <strong>the</strong>ir bonnets <strong>and</strong> aprons) attack<br />

<strong>and</strong> plunder devils in a fire-flickering infernal l<strong>and</strong>scape. A wild-eyed<br />

crone, considerably larger in scale than her followers, leads <strong>the</strong> ravaging<br />

horde. She rushes across <strong>the</strong> center foreground, sword in h<strong>and</strong>, her<br />

mouth open, apparently in a scream, <strong>and</strong> her thin, scraggly gray hair<br />

streams from beneath her helmet (Fig. 71). With her left arm she clutches<br />

an unlikely assortment <strong>of</strong> gold <strong>and</strong> silver vessels <strong>and</strong> common household<br />

124

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